Gary Naylor - Page 27

Philip Bretherton talks about his role as Tony Benn in TONY'S LAST TAPE, revived at the Clapham Omnibus Theatre in April.

The Project is set in an in-between space in history, not freedom, but not yet the death camps, but its fails to explore the possibilities that environment suggests, lost in too many words and too little credibility.

Seen for the first time in 35 years, Athol Fugard's play loses none of its relevance as two men and one woman fall apart under the strain of living under the Apartheid regime.

Let's Dance International Frontiers - LDIF19 - launches on April 29th - International Dance Day - and focuses on diversity in dance by showcasing new work from emerging local talent and internationally acclaimed performers and companies. LDIF19's theme is Black Dance: A Contemporary Voice, which will be the focal point of discussion at the conference on April 30th.

An often beautiful, sometimes confusing, work that uses dance and technology to move from the rigid certainties of three dimensions into the threats and opportunities of the fourth.

Stephen Adly Guirgis's play is as relevant today as ever, its coruscating examination of the nature of American justice and religious redemption losing none of its power a generation on from its first outing.

Cheating Death fails to solve the considerable problems of writing and staging farce in an ambitious show that falls well short of expectations.

The Royal Opera House revives its 2016 Cosi with all the mischievous wit and splendid music of Mozart and Da Ponte - but also lets us in on the game within the game - and the price that's paid

Charlotte Randle talks to BroadwayWorld UK about her role in Cougar, a new play, at the Orange Tree Theatre

David Bromley brings Italo Svevo back to life in Howard Colyer's monologue, As A Man Grows Younger, and finds plenty of parallels with the Europe of today.

There's much to admire in Eden, a play that pits town against country, development against conservation, corruption against integrity, love against careers, the big guy against the little guy.

Julia Burbach talks to BroadwayWorld UK about her role as Revival Director of the ROH's Cosi Fan Tutte and about her work as an opera director.

Paul Taylor-Mills hosted a conversation with Mark Shenton, one of a series at The Other Palace's MT Fest. Here are some of the key points that emerged.

Cyprus Avenue is a blistering black comedy illuminated by a sensational performance from Stephen Rea as Eric, a man adrift in a world that is changing too quickly for him, feeding a psychosis about to explode.

The Paper Man starts off with the story of Austria's 1930s football hero Matthias Sindelar but swiftly dummies the Nazis and nutmegs for a narrative about the construction of narratives - and becomes rather dull as a consequence.

Phil Willmott tries to rescue two shows with the plot of a third, but his show also never quite coheres, for all the energy expended by the hard-working cast.

The King's Head pulls off another re-imagining of a classic opera that packs plenty of punch and is a joy for newbies and old hands alike.

Rip It Up The 60s is unabashed entertainment full of great songs, plenty of dancing and a handful of stars from Strictly.

A wonderful version of The Winter's Tale that is made for young people but has plenty to say to those of us as old as Leontes and Polixenes.

The Moscow Pushkin Drama Theatre brings its modern, surreal take on Chekhov's classic play to The Barbican, with a barb or two directed towards some familiar faces.